Tesis sobre el tema "Blanchot, Maurice (1907-2003) – Phénoménologie"
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Rinaldi, Riccardo. "Maurice Blanchot et la question de l'image". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL029.
Texto completoMost philosophical approaches to Maurice Blanchot's work have hitherto reserved a marginal place for the question of image. Since L'Espace littéraire (1955), however, image assumes a theoretical status that enables us to apprehend it as the matrix of his writing that, initially divided between fiction and criticism, finally achieves its most natural thriving in fragmentation.Far from embracing a sterile nihilism, Blanchot derives from Heidegger’s reflection on art the idea of an appearance as disappearance, of a form invalidating the distinction between matter and form; a presence which is not given: the presence of an absence. He draws from it a radically anti-humanist vision, much more coherent than the conception of the event defining the history of the epochs of the Being: coming before the thing, image condemns the consciousness of the metaphysical subject as the exclusive stage of all representation. The face of death becomes the paradigm of the blind gaze that things lay upon us. Hence, literature proves to be preliminary to a different vision, one that touches on what precedes man’s existence as a whole, his finitude being scattered in an endless approach of the end.Leaving aside the political texts of Blanchot, I have considered the œuvre as a priority in the author’s fate, which is overcome and determined by writing. Less structured than Heidegger's, Blanchot’s work proves finally more suited to be read through the perspective suggested in the Letter on Humanism: we cannot conceive an ethics, as a thought of humanism, if we have not previously redefine what the humanitas of man is
King, Tzu-Chun. "Les Figures de la mort et la création littéraire chez Maurice Blanchot". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL018.
Texto completoThis thesis aims to analyze the way in which two experiences are intertwined in the work of Maurice Blanchot: the experience of literary creation and that of death. My goal is not to establish a Blanchotian phenomenology of death, but to examine the process of metaphorization in which Blanchot joins analogically these two seemingly disparate experiences. I will explain how he defines literature by a series of metaphorical displacements of the notion of death, as well as how the experience of mortality mediates his phenomenology of literary creation. I argue that, in this phenomenology which depicts a writer's encounter with language — with its materiality and its power of idealization at the same time — and his encounter with work (in the Blanchotian sense of an ideal state pursued by never attained by the writer), Blanchot creates the following figures: suicide, murder, corpse, survivor, witness and the “other”, each of which maintains an intimate relation with death that serves to define the process of literary creation. These figures presuppose not only a philosophy of death, philosophy that we should study in the context of Heidegger's and Levinas's influence, but also a conception of literary creation formulated by Blanchot's reading of Mallarmé, Valéry and Rilke. Through an analysis of the polysemy and the paradox of death in Blanchot's writing, I intend to understand his argumentative strategies and rhetorical devices which induce his claim that the experience of writing is equivalent to that of death
Harlingue, Olivier. "Maurice Blanchot et la philosophie". Paris 10, 2005. http://www.theses.fr/2005PA100097.
Texto completoThe first part of our study – devoted to the examination of first moment of Blanchot's thinking, which extends from Faux pas to Le livre à venir – initially sets out to show how Blanchot interrogates, both phenomenologically and ontologically, literature's very existence as the incessant interminability that will appear to us not only as the phenomenon (of) literature, but also as that which already demands a certain critical relation with philosophical discursivity. Then again, in the second part of our study – devoted to the second moment of Blanchot's thinking, which extends from L'entretien infini to L' écriture du désastre – it becomes a matter of "delimiting" and "overcoming" the very limits of this still merely critical relation with philosophy so as to think the incessant interminability, no longer phenomeno-onto-logically, but as the very a-plastic form of difference (of) neutral and writing outside philosophy and outside literature
Amara, Nadia. "Maurice Blanchot 1931-1941 : une dissidence plurielle". Paris 7, 2003. http://www.theses.fr/2003PA070063.
Texto completoThis work presents a body of articles written during the first ten years of the career of Maurice Blanchot as a rightwing joumalist and social critic. It attempts to understand the plural meanings which can be given to Blanchot's revolutionary dissidence, while contextualizing the ideological representations and theoretical foundations, such as personalism and Maurras, that underlie his writing. Through Blanchot's essays, we look at neoclassical themes and divisions, including culture / civilization, germanophobia / nationalism, clarity / obscurity, universality / modemity, to show how debates surrounding neoclassicism are pivotal to his reading and in turn, how certain categories he uses, "l'obscur", "la nécessité", "l'étrange" and "le langage", help reassess literary value as mythical notion in literary history
Pulido, Martha. "L'approche d'autrui, dans l'oeuvre romanesque de Maurice Blanchot". Paris 12, 1994. http://www.theses.fr/1994PA120058.
Texto completoThe present work introduces the theme of the process of transformation experienced in the ways of seeing the other ; therefore, a transformation of the perception of the literary work, and of the time favourable to its creation. M. Blanchot's work speaks to the contemporary man questioning : what is litterature good for ? the character that allows this approach is the wandering poet, thomas, whom we have drawn near the image of the suppliant and the troubadour. In this manner, m. Blanchot's work reveals itself as a challenge against the law in general, and against the narrative laws in particular, so serving the purpose of forgetting the weight of the law
Stratton, Gae. "La mathematique extraordinaire de maurice blanchot". Paris, EHESS, 1991. http://www.theses.fr/1991EHES0312.
Texto completoFrom the beginning a form of translation has been at the root of our concerns. At first, this translation was to take place between the place topologically defined, and the letter, term which at that time was practically synonymous as far as our text was concerned with the signifier. A bit later, and this teanslation was to operate between mathematical letter (the mathematical sign) and the language of thought, and more precisely, this language as it is expressed and realized in the literary work of maurice blanchor. In the end, and as a consequence of the passage from its point of departure to its destination, it became a form of translation connecting conceptual terms, the first being the point, with the same terms understood outside of all and any possibility of conceptualisation
Jahng-Koh, Jae-jung. "Récit et théorie littéraire chez Maurice Blanchot". Paris 10, 1985. http://www.theses.fr/1985PA100272.
Texto completoMesnard, Philippe. "Maurice Blanchot, le sujet de l'engagement littéraire". Paris 7, 1994. http://www.theses.fr/1994PA070078.
Texto completoLimet, Yun Sun. "L'écriture critique de Maurice Blanchot". Paris 8, 1997. https://octaviana.fr/document/181449196#?c=0&m=0&s=0&cv=0.
Texto completoWe elaborate the notion of "critical writing" in blanchot's non fictional work. This notion is important, not only because these writings are critical, but also because criticism should be understood as central to writing as such. We have restricted our corpus to the non fictional writings. These writings think literary criticism as a "relation" fondamentaly defined by its impossibility. Analysing blanchot's practice of literary criticism, we find that this "relation" is paradoxically possible in a "critical writing". The critical dimension comes from the self questioning of blanchot's critical writings on criticism. But the autoreflexive gesture is not only a solipsist movement it is open to a specific temporality that we call the "time of criticism". This time signifies that writing is a process within which reading is defered and always put off in re-writing. The mean of that "defering time" is the other critics texts taken as a mediation to the text, and also, the "ressassement" through which blanchot, repeatingly, focuses on and displaces the same figures, problematics and privileged authors. This specific time of critical writing shows an evolution in blanchot's non fictional work aswell. When blanchot writes in fragments it is a moment which may be seen as a crisis and, at the same time, a renewal of the critical relation. What is at stake in that moment? the reconstitution, trough the ordeal of disaster, of the subject of writing which has been broken up. In that recovery of the subject, the self can only be thought in relation with the other. The relation with the other was inscribed from the beginning in the critical relation and its paradox should be understood according to blanchot's thinking of friendship an community : a relation that does not relate. This is the signification of the torment which inhabitates his critical writings. The impossibility of beeing in relation is sustained in the writing of/to the other writer
Sumiyoshi, Ken. "Maurice Blanchot et son écriture". Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL014.
Texto completoIt is the inspiration that encourages us essentially to speech. But, is the man, before the act of writing / talking and at the time of the act or after the act, identical? If the subject of the act could answer positively, we dispute it. At which moment does a fissure of identity happen to the man? We show that it arrives at him at the time of the inspiration. At the dawn of philosophy, Plato assumes the identity between what inspiration asks the man to put into words and the words he confers on it. Platonic Dualism of the sensitive world and supersensible is known, but this structure that considers the idea as a final goal is, as Nietzsche correctly detects, itself motivated by the idea. The idea, as inspiration, triggers and guides the Platonic movement towards it. Located at the beginning as well as at the end, it is identical, and Hegel and Heidegger are in the same line. It is against and in this identity which constitutes a circle, that we introduce a difference or an alterity, and this in particular by the idea of immediate. Inspiration, when it comes to us, doesn’t stay; immediately appeared, it disappears immediately and at the same time. It does not remain to guide us towards it but it only passes, which means that it does not show us its presence but its absence. If the man believes to give his words to what inspiration whispers to him without language, he actually gives them to the trace of inspiration or to the absence of inspiration. By the words, he does not embody the inspiration but forms an image of the inspiration, and one of the biggest problems is that Plato, Hegel and Heidegger take the image as inspiration; they take the absence of something like its presence, without differences or otherness. This homogenization of one and the other which are actually different from each other, as well as the identity to which it ends, are due to the magical power of the image it is not easy to realize.But, by the idea of difference and otherness, couldn’t we say that something else begins that inspiration, namely something new? This is the case of Levinas's thought. And yet, the Jew, whose thought is to extend the specificity of the inspiration at a moment to all the moments, prepares a Blanchot’s radicalization of the absence. It is through the language that this radicalization is realized. Language is not a series of words with consistent meaning, but it is above all a series of phonemes and letters. Moreover, this series is not continuity: when each phoneme, by its immediacy, disappears at the same time as it appears, it is totally indifferent to what precedes it and what follows it. It breaks any relation to others at the spatial-temporal level, which means that the series of phonemes is a continuity of the discontinuous. Thus, what man gets through language is not an entity language with significance, but an entity of missing inspirations at every moment, namely an entity of images that have no relations with each other. Our research will then lead us to answer the question of whether the man, before the act of writing / talking and at the time of the act or after the act, is identical. We answer negatively, not that the language confers a new identity to a man, but that it escapes at every moment, that is to say that it has never been any identity, except an identity based on a falsely continuous image
Fries, Philippe. "Maurice Blanchot : penser l'acte insensé d'écrire". Paris 4, 1996. http://www.theses.fr/1995PA040188.
Texto completoMaurice Blanchot's critical work brings speech, that is to say the dialectic, into question. The dialectic is forever striving to build up the unity of being; such a project leads the dialectic to set the other as a mere term in the generalized process of identification. The other is thus denied in its otherness and reduced to sameness. What is at stake in Blanchot's research is to ruin speech and more deeply to disquiet language, to turn both of them towards the impossible, to alter the power they have to master and appropriate reality, to disarrange the process of meaning, so as to release another word, one that would be careful to hear and receive the other in its irreducible strangeness. To release this other word and with it a new mode of relation to the other is both to hear again the literary word as an experience of the impossible, and reflect, repeat, this same experience; it is therefore to turn criticism twice towards literature
Majorel, Jérémie. "Chiasmes : Blanchot, herméneutique et déconstruction". Paris 7, 2010. http://www.theses.fr/2010PA070082.
Texto completoThe work of Blanchot makes it possible to call into question the theoretical barriers between the hermeneutics and the deconstruction. Initially, we showed that when they try to read Blanchot, in a singular chiasme, the hermeneute tends to becoming deconstructor and the deconstructor tends to becoming hermeneute. Then, vve proposed an interpretation of the near total of the novels and accounts of Blanchot. It appears that the narrative work of Blanchot contributes a fundamental share to the transformation of the novel into account, at the same time near and different from that which operated in same time Bataille, Duras, Des Forêts, Beckett, Laporte. . . Accounts of Blanchot, a priori very abstract, speak in a new way of concrete and fundamental experiments: skin, the glance, mourning, obsession, the madness and community. Lastly, in the critical shutter of its work, we showed that the chiasme more or less undergone by the readers of the accounts is put in practice by Blanchot itself. Before the deconstruction itself does not appear, Blanchot uses procedures hermeneutics (allegory, symbol, metaphor, distinction between apparent and hidden sense and seek center of a work), of a way such as it is interested only in the precise moment where these procedures are broken by vvork with accompanying notes, releasing a new field for ; exercise of the comment which would seek the proliferation of the shows, the absence presence of the image, the theatricalness of textual space, the plurality idiomatic of the languages and the syntactic drift of the words without last thrust
Park, Kyou-Hyone. "La folie d'écrire chez Maurice Blanchot". Paris 8, 2000. http://www.theses.fr/2000PA081758.
Texto completoMottin, Nicole. "Maurice Blanchot, alliance et mésalliance dans le dialogue". Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/mottin_n.
Texto completoThe dialogues, in Maurice Blanchot's works, question the literary Spaceʺ which conveys not only subject matters but also a speech which attempts to answer the impossibleʺ. They also question on Language which includes questioning on Thought. We consider what the author names the obscureʺ inherent in communication. Our approach consists less in analysing or paraphrasing the dialogues, then considered as mere textual objects than in considering them as words pregnant with desire. The characters seem to live out of space and out of time. They let themselves wander in order to face the secret law of language better. They take the risk of approaching others as if they could reach the truth of their beings. We try to determine what the breach in the dialogue is. It is not useless to wonder how, under these conditions, the meeting is possible. This is why we take into consideration the desire which attempts to express itself through what Lacan names une articulation signifianteʺ. Love appeals to the mystery of the Other Oneʺ, that unknown and unknowable part of each of us. The author shows how incommunicability underlies communication. Reading the dialogues allows us to approach beings who strive to establish the ultimate relationship. This untiring quest for secret joins that of the speechless interlocution of our inner interrogations
Hurault, Marie-Laure. "Maurice Blanchot et la fiction : une mise en demeure de l'écriture". Paris 8, 1998. http://www.theses.fr/1998PA081419.
Texto completoStarting from the fictional text of maurice blanchot, i first considered the notion of fiction in order to determine a purely literary principle of order. My deliberate decision was to radically differentiate these texts from blanchot's theoritical work, because i view them as revealing his personal thought on writing ; with the idea that one must go further than pure auto-reflex. Because they arrive at a more general meaning, the literary references which i have selected go far beyond blanchot and aim at bearing testimony to a concern which is common to modern times. I studied in particular, because it is an integral part of research on language, which i understood as a manifestation of a presence-absence. Starting from the hypothesis that there is something to be studied from the way the text appeared, my thinking went in the direction of a phenomenological critique and recognized fiction concealed in the guise of parrying. Indeed, if modern times cuts itself from the idea of literature as representation, one comes to the realization that the more writing closes in on itself, the more it creates a figure which turns away at the moment one thinks that it is becoming clear. In this way, analysis shows how fiction gets in the way of full abstraction and upholds the figuration as it moves towards its own destruction. The literary aspect which i considered as outside of ontology, cuts itself from a mode of being in order to appear otherwise, doing so by the reinvention of a thought which covets a space and time particular to the writing of fiction. Finally, under the intrinsic ambiguity of the fiction, i put forth the idea that it splits in two. I use psychoanalysis as a circuitous way to establish an idea of fictionality; in other words, the ambivalence of an idea which is part of an internal alteration. The logic is that of a similacrum that is to be linked to the marking of a trace, which always indicates something other that itself. This logic, under the apparent mode of "as if ", pledges an order of reality too intimate to speak about, because it is part of a latent externality
Aucouturier, Denis. "Le neutre à l'œuvre dans les récits de Maurice Blanchot". Paris 7, 2003. http://www.theses.fr/2003PA070018.
Texto completoThree tales by Blanchot - "Celui qui", "Le dernier Homme", and "L'Attente l'Oubli", provide and insight into the works of fiction which are at the crossroads of a writing path. "L'Attente L'Oubli" is both the last of the narratives witch echoes previous works and the forerunner of a fragmentary writing. A questioning on writing is narrated by staging ipseity, the One confronted to the inavoiabale gap inherent to speech and writing. Tree paths stems from the One. The first one stretches from One to neutral, by going through a balanced gap and then doing away with it. The second one deals with the one-other relation connecting characters address the issue of otherness, focussing on the necessary gap to any communication. The third path goes from unity to fragment in accordance with the wish for immediacy in the writing witch tend to narrow the gap. The issue of time is central. The gap is delayed time, is the analysis, which strays from immediate truth by the very time it takes. Blanchot skirts round the insolvable issue of time by associating present with presence. There is a fundamental, universal and timeless "something" which turns time into space: Neutral is both a quest and a requesting subject. In term of alterity the final character margins in the narratives are reflected by the neutrality of the erasing of the 1. In the fragmentary space the neutral becomes the erasing of the writer (scripting without any analysis). In terms of time, the 'toujours déjà', universality, abolition of the present erase present from writing and thus neutralise it. Finally, neutrality means inspiration, since retirement gives way to the other' s speech. Any pondering on Blanchot' s writing, given the influence it has, its authority, will have to take into account disappearance, inattainability, neutrality at work
Uhrig, David-Gil. "L'image pas-à-pas. Une lecture d'Aminadab de Maurice Blanchot". Paris 7, 2002. http://www.theses.fr/2002PA070078.
Texto completoThis reading of "Aminadab" seeks to display the stakes of a poetry inextricably linked to the historical and political context of 1942 occupied France. Towards the end of 1937, Blanchot effectively gave up his joumalistic activities that had led him, despite an early opposition to Hitler, to play the anti-Semitic game ; we thus see the elaboration of a writing looking to untangle the traps of identifying the subject with his language. "Aminadab" supposes a conception of poetical image that, through a "central" character, plays an essentially critical role, not only regarding the notion of a subject closed upon himself (as already in the ftrst version of "Thomas the obscure"), but also facing a stereotypical conception of History. Ln philosophical terms, this means that the only Heideggerian critique of the Husserlian subject is nuanced by a narration that introduces a pause in the diachronic axis of the narrative : this synchronic dimension, at the same time both erased and yet required by each of the protagonist Thomas' s acts, finds another truth than that which is perceived by the inhabitants of the "house", the only place which is organised in a totalitarian way, where wandering has manifestly no place. "Aminadab" therefore recalls History to its nomadic truth, moderating the pursuit of the end by the demand of justice whose arrival, although invisible, is no less effective than an act
Cardoso, Daniel Barbosa. "A questão do sentido na ficção de Maurice Blanchot". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17779.
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O presente trabalho foi formulado, em grande parte, em estudos e publicações cuja característica principal é derivarem do trabalho do grupo Escritura: Linguagem e Pensamento, cujos trabalhos são conduzidos no Departamento de Teoria Literária e Literaturas da Universidade de Brasília pelo Professor Piero Eyben, que também é o orientador da tese. O que há de comum entre todos é o fato de lidarem com o pensamento e a literatura de Maurice Blanchot levando em conta a questão do sentido e da linguagem e suas ressonâncias filosóficas. Necessário também dizer que o presente trabalho opera em continuidade com nossa dissertação de Mestrado, produzida no Departamento de Filosofia da Universidade de Brasília, que se limitava à ensaística de Maurice Blanchot; opera-se, aqui, tentativa similar, dessa vez buscando os textos do autor que se inscrevem no registro incerto da ficção. ____________________________________________________________________________________ ABSTRACT
The present work is comprised, in great measure, by essays and publications that resulted from my engagement in the research group Writing: Language and Thought, whose activities are linked to the Department of Literary Theory and Literatures at the University of Brasilia, under the leadership of Professor Piero Eyben – who is also the supervisor of this thesis. Common to them all is the fact that they tread upon the thinking and literary texts of Maurice Blanchot, paying particular attention to the questions of meaning and language and their philosophical implications. Imperative is also to stress that the work presented here is a further development of my Master‘s dissertation, a research project that was undertaken in the Department of Philosophy of the same University, which was circumscribed to the essayistic work of Blanchot. The present thesis entertains a similar aspiration, this time focusing on the author‘s texts that belong to the ambivalent domain of fiction. ____________________________________________________________________________________ RESUMÉ
Le travail suivant a été formulé pour sa plupart dans des études et publications dont la majeure characteristique est d‘être derivés du travail du group de recherches Écriture: Langage et Pensée, conduit au Département de Théorie Littéraire et Littératures de L‘Université de Brasilia par le Professeur Piero Eyben, qui est aussi le superviseur de la thèse présente. Ce qu‘il y a de commun entre tous c‘est le fait que tous lident avec la pensée et la littérature de Maurice Blanchot, tenant en compte la question du sens e du langage e ses réssonances philosophies. Il faut dire aussi que le présent travail opère en continuité avec ma dissertation de Maîtrise, produite dans le Département de Philosophie de la même Université, qui était limitée à les essais critiques de Blanchot; On fait ici la même tentative, cette fois en quête des textes de l‘auteur qui sont inscrits dans le registre uncertain de La fiction.
Mouna, Mazen. "Attraction du vide et du nihilisme dans l'oeuvre de Maurice Blanchot". Thesis, Mulhouse, 2011. http://www.theses.fr/2011MULH4413.
Texto completoWe chose the study of the void and the nihilism in the writing of Maurice Blanchot, a writer-thinker who currently arouses an interest growing both in France and abroad. Indeed, our present study covers a very rich period with political, historical, economic, social and cultural changes extending from the second half of the XIXth century until the end of the postmodern time. In order to be able to analyze the presence of the nihilism and the void in the novels and the accounts of Maurice Blanchot, our research will be related to the prints of modernity in its writs as well as the questioning of the author by some of his contemporaries (writers or philosophers) and its engagement to the cultural and political life of its time. Within these changes, which marked the western history that time, the Western man was in crisis, astonished, shocked by this disorder which started to infiltrate during this period, it led to insulation and loneliness that to forget the drama which already took a share in his personal life, it had been subjected, in front of the void, which crushed it, and the nihilism which didn’t not hesitate to carry reached to its quietude. Then, it started to feel existential empty, which carries out to raise infinite questions: why am I there? For what is used my life? Why live whereas death waits us at the end and until the life is not worth the sorrow to be lived? The scene appears tragic and the life returns then to the inanity and the nonsense
Hoppenot, Eric. "L' intertexte vétérotestamentaire dans l'oeuvre critique de Maurice Blanchot". Paris 7, 2013. http://www.theses.fr/2013PA070017.
Texto completoIn thee critical works of Maurice Blanchot, the biblical intertextuality plays a key role since "the very essence of any book is theological. " Through the study of Blanchot's archives, this research analyzes the manner in which he appropriates various references of the Jewish tradition. It appears that beyond the commentary of his works, Blanchot often blurs the boundaries between his discourse and its sources. As his commentary erases the references, it tends toward a masked heterogeneity given as an anonymous writing. The Jewish tradition is the object of an incessant questioning, turning over in a vicious circle, beginning from certain motives that will constitute a mythography of the Jew: the birth of language, sacrifice, nomadism, exile, exodus, revelation and interpretation of law. Moreover, Blanchot's final texts, his fragmentary writings in particular, allow a glimpse of a messianic thought that radically subverts our concept of time
Antonioli, Manola. "L'écriture de Maurice Blanchot : fiction et théorie". Paris, EHESS, 1997. http://www.theses.fr/1997EHESA013.
Texto completoPark, Joon-Sang. "La voix du on pour une communauté : oeuvre et communication à la lumière de Maurice Blanchot". Paris 8, 2001. http://octaviana.fr/document/184763479#?c=0&m=0&s=0&cv=0.
Texto completoNikishina, Tatiana. "L'inconstance de la voix narrative dans les récits de Maurice Blanchot". Paris 7, 2014. http://www.theses.fr/2014PA070030.
Texto completoThe thesis is aimed at taking Blanchot's affirmation seriously according to which literature deals with movement rather than with signification. The dynamics of the narrative voice is principally examined from semiotic and lingo-rhetorical viewpoints. It gives an opportunity to discover the double imperative of the narrative voice — critical as well as fictional — and to compare the critical dimension of Blanchot's prose with the poetic implication of his essays. Hence, in three parts of the thesis the narrative voice relation of nonidentity is viewed from three different although complimentary perspectives. In the first part the essential ambiguity is examined as a principle, a critical method and an ethos of Blanchot's critical and fictional writing during 1940s -1950s, a period when Blanchot was engaged in a dialogue with Paulhan, Mallarmé, Sartre, Kafka, Rilke. In the second part the ways the text deals with image in Blanchot's récits (short narrative form which is related to paradox) are studied as a practice of dissimulation. Within this practice the point of non-coincidence of the narrative voice reveals. From this point the narrative visibility is approached as a complex phenomenon, which combines semiotic and axiological aspects of Blanchot's discourse with its mimic practice. In the third part the ways the text deals with distance in the récits are examined. These ways cause interiour destabilization of the narrative structure and put every narratological approach in question. Detailed analysis of Celui qui ne m'accompagnait pas gives an opportunity to put emphasis on the passion for instability and instable passion of Blanchot's oeuvre
Confortin, Rogério de Souza. "Théâtralité et gestualité chez Clarice Lispector et Maurice Blanchot". Paris 7, 2009. http://www.theses.fr/2009PA070090.
Texto completoThe thesis brings a critical and theoretical look on two essential conceptual concerns of this research in literary theory. The theoretical line that explores this epistemic territory which surrounds Maurice Blanchot's critical and theoretical gesture, of which exert a unique potential of reading in contemporary theoretical literature, mainly French, and seeks it's filiation in others. The critical line, eventually, operates conceptually, through the critical term epreuve and machinic theatrality of literature, a reading experience with post-structuralism basis of Clarice Lispector's A paixâo Segundo G. H. And Maurice Blanchot's Thomas l'Obscur, texts that act as a thoughtful literature in their narrative voices. Both the theoretical and critical lines exist in an entanglement that tries to promote a reading situation that we bond with the image of a theatrical gesture that metaphorizes in a machinic way (relative of the literary writing as a self experience of the desire of subjectivity) the experience of literary writing like the epreuve of an aesthetics situation beyond the structurally semiotic work. Body writer and corpus fiction operate, at the basis of the image of their intersection, the desire of the critics in interfering in the paradoxical process, volatile and trans-subjective in which a sovereign narrative voice and many times fragmented promotes and alludes movements that signalize as much a gestuality of the writing as a theatricality of the body effects that start from scenes and from the poetic complexity, agonic and philosophical which performs (itself) embodies from the fictional reports mentioned above
Della, Greca Marco. "La rivoluzione dell'impossibile : politica e letteratura nel Blanchot non conformiste". Paris 7, 2011. http://www.theses.fr/2011PA070043.
Texto completoAim of this work is to analyse the political and literary experience of Maurice Blanchot in the 1930; particularly focusing on the different forms of his writings and on the contexts in which those took place. In the first part, I propose an overview on the critical debate about the intellectual engagement of young Blanchot: on this purpose, I investigate the various reactions and opinions expressed by French and international scholars, since 1940s until recent times. In the second part, then, I focuses on the generations context - known as "non-conformism" -, in which young Blanchot's experience develops, and I present the highly topical issues discussed in those years. Later on, I propose a genetic reconstruction of the views, the sensibilities and the concerns of those groups, which Blanchot was affiliated to. The third part deeply investigates the ideology of the writings and the political activity of young Blanchot, which were strictly related to the project of such political and literary movements. I concentrate on the theoretical and practical attempt to create a new idea of revolution, highlighting the concept that politics and literature were thought an inseparable for the realization of such project. The last part more specifically focuses on the texts of young Blanchot, by juxtaposing two different kinds of analysis: a rhetoric and psycho-sociolinguistic one and a historic-philosophical one
Guedes, Juliana Braga. "Maria Gabriela Llansol e Maurice Blanchot: a escritura do desastre". www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/14869.
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As obras Um beijo dado mais tarde [1990], A Restante Vida (2001) e Um Falcão no Punho (2011), da autora lusitana contemporânea Maria Gabriela Llansol (1931 - 2008), serão temas de discussões sobre o fazer literário. Nessa pesquisa, a escritura, como ponto de convergência, argumentará sobre as demandas mais comuns dos aspectos de compreensão de um texto literário: narrador, enredo, personagens e tempo. No entanto, rompemos com o contrato tradicional de definição teleológica desses elementos e elencamos novas abordagens de elaboração do trato literário. Para tal intento, realizamos um encontro, no plano do discurso, com o crítico e filósofo Maurice Blanchot, comparando alguns pensamentos insurgentes, como: solidão essencial, silêncio, noite, o fora, o espaço literário, para transitarmos com mais desenvoltura pela trama de Llansol. Não obstante, convidamos ao trabalho, as leituras dos autores: Giorgio Agamben, Roland Barthes, Jacques Derrida, Fernando Pessoa, Kafka, Michel Foucault e alguns ensaístas brasileiros e lusitanos para embasar o entendimento da criação literária e provocar novas experiências que subvertam a escritura de Llansol. A crítica pós-estruturalista e o desconstrutivismo formarão as relações diferenciadas com a palavra literária e o mundo ficcional de Maria Gabriela Llansol
Yasuhara, Shinichiro. "Maurice Blanchot dans les années 1930 : la dissidence politique et la perfection littéraire". Paris 8, 2006. http://www.theses.fr/2006PA082641.
Texto completoThe aim of this thesis is to analyze the literary and political writings of Maurice Blanchot in the 1930s. It shows that certain political terms Blanchot uses — like "terror", "revolution" or "refusal" — belong to the political debate of non-conformists of the extreme Right. But, at the end of the 1930s, he uses these political concepts in the affirmation of the literary “purity” and specific force of the literature. This thesis thus clarifies the process by which Blanchot leaves the politics and extends, by his own literary writing, his philosophical and anti-psychological reflections on the human being; but this trajectory is not linear at all, it is rather in a spiral between the esthetics and the politics
Cardoso, Daniel Barbosa. "Entre Heidegger e Blanchot : fenomenologia e literatura". reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/8385.
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O trabalho a seguir procura analisar algumas relações entre o pensamento de Martin Heidegger e de Maurice Blanchot. Parte-se do desenvolvimento da crítica de Heidegger à fenomenologia nos primórdios de seu pensamento – em especial a cunhagem de alguns temas presentes em textos anteriores a Ser e Tempo – para a releitura de alguns motivos de Heidegger que constitui a maior parte da obra de Maurice Blanchot, entre eles os conceitos de obra, linguagem e literatura (o que inevitavelmente requer menção a textos posteriores de Heidegger). Parte-se também da premissa de que alguns temas da crítica de Heidegger à fenomenologia acompanham seu pensamento na totalidade de sua obra, iniciando nos cursos desde 1919, passando pelo texto que tomou forma em Sein und Zeit e culminando com a reflexão sobre a obra de arte que surgiria a partir da década de 30. Alguns aspectos desses temas são retomados por Blanchot, que procurará lhes dar vazão em textos críticos e literários.
Kim, Seong-Ha. "Passage(s) entre l'informe et le neutre : Georges Bataille, Maurice Blanchot, l'art contemporain". Amiens, 2014. http://www.theses.fr/2014AMIE0003.
Texto completoThe objective of this study entitled "Passage(s) between the formless and the neutral : George Bataille, Maurice Blanchot, the art contemporary" is to analyze the passage between the formless and the neutral in the art contemporary, as well as in Bataille's thinking and Blanchot's thinking or in Bataille's writings and Blanchot's writings. It is based, first of all, on the exhibition "Formless: A User's Guide" in 1996 which refer to Bataille's thinking, particularly to the article "Formless" that Bataille published in "Documents" in 1929, on the other exhibition "Intense Neutral" in 2008 which refer to Barthes's lecture on the neutral in 1977-1978. But, in this lecture, Barthes was based on Blanchot's neutral. From these references, this work approaches the movement toward the infinity, that is to say toward what is lower than the lowest or toward what is othermore than the other. This movement "more. . . Than. . . " is related to the difference without the relation of the opposition between the baseness and the elevation, between the horizontal and the vertical, between the exterior and the interior. This work intends to show this movement in the seven chapters : "End of God", "Meat", "Mother", "Anyone", "Excentric", "Invisible labyrinth" and "Boiler with the fireplace"
Olivares, Valencia Amanda. "Le dérobement de la loi : littérature et liberté chez Maurice Blanchot". Electronic Thesis or Diss., Paris 10, 2024. http://www.theses.fr/2024PA100003.
Texto completoThis research argues that the law, which we consider to be the principal element or the most predominant manifestation of the right, is permeated by a literary dimension that composes it. This literary dimension can prevent the law from being reduced to a simple form of language that, as a tool of subjugation, only seeks to control the relationship of consciousness to the world. The literary dimension enables a liberatory dimension to the right. For Blanchot, literature is a form of language that questions its own meaning, a language that experiences the questioning of itself. Thinking of the law as literature opens it to the experience of questioning the meaning that determines the law. This openness to the liberatory dimension of the law allows the law to differentiate itself from itself, to confront its impossibility and to be always open to the irruption of the unknown, the unforeseeable, the absolute other. In this way, the self-questioning that constitutes the literary experience also means opening up the law to an ethical dimension that places it in relation to that other with whom it has nothing in common: the stranger, the sick person, the mad person. Thinking of the law as literature also makes it possible to think of community experience not in terms of identity, but in terms of difference, by preserving the absence for the arriving of an unknown other, a stranger from outside. Thinking of the law as literature opens the law to a liberating dimension and to crucial ethical questioning about its own meaning and justification
Lilti, Ayelet. "Blanchot-Kafka : un rapport de ressemblance comique". Paris 7, 2013. http://www.theses.fr/2013PA070019.
Texto completoThis thesis entitled "Blanchot-Kafka: a relation of comic resemblance", joins the works of these two writers by drawing on Blanchot's criticism of the notion of the image considered as a relation of resemblance. Starting from the concept of mimesis, passing through German Romanticism, philosophy of art and aesthetic theories up to the present day, the relation between the two authors become a simulacrum that relates the narrative of the image. Moreover, by exploring the field of the philosophy of humour, I have noted that resemblance has a comic aspect. Therefore, I have proposed an aesthetic theory that firstly reinforces the association between the notion of resemblance, of laughter and smiling in the works of Maurice Blanchot and Franz Kafka, and secondly suggests that Blanchot-Kafka relationship is a critical space defined by a mimetic movement that reveals a comic spirit
Khakshour, Faroudji Morteza. "Poétique du silence dans l’œuvre de Maurice Blanchot". Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUL016.pdf.
Texto completoMaurice Blanchot's work is mysterious and disturbing. Its reader should already be prepared to get lost in a labyrinth and accept the risk of being locked in this space. Much of the Blanchot criticism is concerned with the desperate quest for the infinite and the impossible in literature; in his stories, Maurice Blanchot tries to practice the principles and elements of this specific conception of literature through a poetics of silence. This thesis focuses, first, on the literary thought of Blanchot who, in our opinion, is primarily interested in indicating the flaws and failure of writing to trace the unspeakable; we then attempt to measure the consequences of such an approach in Blanchot's narrative work
Dionizio, Mayara. "Les préfigurations de la mort comme sujet : le Lazare de Blanchot". Electronic Thesis or Diss., Amiens, 2022. http://www.theses.fr/2022AMIE0021.
Texto completoThroughout Blanchot's work, the appearance of the character Lazarus is remarkable. Figuring another version of the biblical Lazarus, this character prefigures death itself, as subject and object of itself, by resurrecting to death and not to life. From his first appearance, in Thomas l'Obscur (1941) until his last appearance, in "Le grand refus" (1959), Lazarus concentrates in himself - besides the pertinent questions about death in its relation to the outside of meaning and the mutations proper to the literary word - many of the central reflections of Blanchot's work work: neutral, experience, night, enigma, work, alterity and community. In this way, I turn to those works in which the presence of Lazarus is always announced when what is at stake is the word in its affirmative/negative ambivalence, thus evoking resurrection as a literary operation. These passages show themselves as a map in Blanchot's work, which works as a guide, for me, and according to which I sew the weaving of the present text. Having delimited these passages, I dedicate myself to investigate the critical and literary fortune of Blanchot's work from this Lazarean viewpoint. From this, I establish paths through which I find Lazarus in Blanchot and, beyond these traces, I formulate and situate concepts, sometimes my own, to think about this character. Concepts that dialog and start from the character's walk - either from the notion of pas, or from the way Lazarus walks through Blanchot's work - and that connect, finally, to the notions of vagabondage, of foreigner, of immigrant, among other marginalized groups. Groups that constitute, in this work, what I call, from a critical reading of the Blanchotian community argument, the Lazarean community. Therefore, in this work, I analyze all these perspectives inscribed under this Lazarus, situating them in their political, artistic, aphoristic character and always, always under the performative dimensions of the literary word
Fueri, Eliane. "Pensées de l'extériorité : Levinas Blanchot". Nice, 1997. http://www.theses.fr/1997NICE2003.
Texto completoLevinas makes a clean break from the western philosophical tradition centered around the question of being and based on the concept of ego cogito as the origins of knowledge within the present of the evidence. It is his contention that philosophy begins with ethics and not ontology and phenomenology. From then on, reflection takes aim at that which overflows it. I. E. , absolute exteriority (infinity, face, god). From the common retreat from presence in both Blanchot's and Levinas philosophies emerges the concept of the trace. For Blanchot, this is the "effroyablement ancien" (frighteningly ancient), and the "disaster" which testifies to an immemorial past. Some analogous notions from Levinas to Blanchot, i. E. , infinity, trace, neutrality, disaster, "effroyablement ancient" (frighteningly ancient), relate to the unthinkable, and to exteriority understood as that which exceeds the realm of consciousness. These terms are understood in their distance from the word being and the possibility of the present. The "effroyablement ancien" (frighteningly ancient) in blanchot's philosophy is connected to the cycle of the "eternal return", erases the notion of present time, and subsitutes for being a force whose intimacy is exteriority - a game of free forces constitutive of exterior space
Pan, Yi-fan. "Sur l’écriture : la question de l’innommable chez Maurice Blanchot". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100106.
Texto completoIs the writing of Maurice Blanchot determined by its philosophical thought or literary thought? Because of his dual roles, critic and novelist, Blanchot’s writing seems to display two possible thoughts: philosophical and literary thoughts. Philosophical thought is the aim on uncovering the truth. As a result, the writing becomes an implement to represent the dialectical thinking. Every chosen word must correspond to what the thinker stated so that the reader can follow it. Literary thought bases on transforming the original fact. A novelist asks the reader to look for the second meaning in his writing, in other words, what he wrote is not equal to what he meant. Thus what is written (by the author) is not yet written, but is waiting for written (by readers). There are two kinds of writing: one tells the truth, the other tells the lie. How can readers distinguish the reality from the writing of Blanchot? Can readers believe Blanchot’s literary criticism while he is also a novelist along with those rhetorical writing skills? One questing would Blanchot never confuse between his double roles. Accordingly, this thesis will discuss the indeterminacy within the writing of Maurice Blanchot
Comte, Thibault. "Écrire au nom de l'autre : à partir de Maurice Blanchot et Philippe Jaccottet". Thesis, Amiens, 2021. http://www.theses.fr/2021AMIE0058.
Texto completoThe two works of Maurice Blanchot and Philippe Jaccottet take place in a society in crisis, born of a particularly tense period between the two wars as well as of a second world war which revealed to humanity the limitless cruelty perpetrated by Nazi Germany. Their works bear witness to a disaster (of thought and society), they are consubstantial with that time and yet they open up within themselves the capacity for a resource in the face of disaster, through writing and reading. The two works, which are very different, nevertheless seem to bear the same commitment, which is secret and cannot be confessed. In order to do so, the thesis will use a multi-focal relationship borrowing from literary history, philosophy and the history of the bond between intellectuals and the public (or political) sphere, while making much room for literature and poetry, which the works place as the site of a reversal. The aim of this thesis is to question a way of thinking about the exit from perseverance in being according to the motives specific to the works: erasure, community, the refusal of unity. These motives activate a writing that would be done in the name of the other, reversing the authority of the subject - of the author -, that is to say of an "I am", towards the other - the reader -, shifting the relationship into an "I am for the other". The works are also observations of the extreme fragility of our world, which requires precaution. In this, they are involved in a work of repair and listening. Hence the strange effect they have on the reader, who can recognise himself and feel his life drawn into them. Through the commitment to reading that they demand, they give rise to a reflection on the possibility of a relationship: between two people, by a third party, in between. The abandonment of an allonomy for a law of the other
Gohara, Kai. "Il y a de l'image : Maurice Blanchot et l'image minimale de la littérature". Paris 7, 2007. http://www.theses.fr/2007PA070012.
Texto completo"Speaking (writing) is not seeing", said Maurice Blanchot (1907-2003). It is not an act of seeing but getting engaged with the "image". However, what is this strange sort of "image", which is both separated from "seeing" and related to "speaking (writing)"? If Blanchot often mentions the "fascination" of the "image" in his texts about literature in spite of his critique of the opti-centric idea of literature, then what does this mean in fact? It is well known that Blanchot presented an impressive concept named the "resemblance of cadavers" in his essay on the image: "Two Versions of the Imaginary". What matters for us is not just to extract and develop this concept as such but to examine and elucidate the very concept as fundamentally supporting Blanchot's primary idea of literature. The present study proposes to analyze Blanchot's writings in the forties and fifties from this perspective. In the first place, we explore these essays what explicitly treat of the question on the image, in order to reveal an immanent logic of the "resemblance of cadavers". The second part, in which the notion of "figure" serves as a guiding thread, is devoted to demonstrate our central argument about the image as literary language. All theses analyses lead to this conclusion: Blanchot did not have an iconoclastic idea about literature, but on the contrary, he considered what would be called a minimal image as the condition of possibility - "there is" - for the representative structure of image, for the very reason that he tried to resist such a structure. He thus came to recognize the passion of figuration in literature
Guillot, Céline. ""Inventer un peuple qui manque" : la communauté humaine chez Maurice Blanchot, Henri Michaux et René Char entre 1940 et 1950". Paris 8, 2004. http://www.theses.fr/2004PA082446.
Texto completoIn the context of post-war period, when the concept of community as a political and theological model, but also as a sociological category, did not represent any more one ideal and ideological alternative to the winding-up and dislocation of the Western society, some literary works, such as Char, Blanchot and Michaux tried, while dissociating it from its former referents, to explore prospects for renewal of the community, in other words to invent a bond which would not concern politics, nor theology, but poetry. The point of this dissertation is to explain the necessary questionning of the concept of community concerning literature and poetry in the forties and fifties, two decades when this term was discredited by history. Why would literature endeavour to maintain as an irreducible requirement the possibility of "we" at one time when the historical events used this term in a background of “disaster” and “ruin”?
Menezes, Roberto Bezerra de. "A interminabilidade e a incomunicabilidade da escrita: confluências entre Herberto Helder e Maurice Blanchot". www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/8094.
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O tema da criação literária percorre há muito a literatura, em especial a poesia. A valorização da escritura em detrimento do Humanismo e da História, ambos detentores de um saber teleológico, permite-nos hoje percebê-la por si e numa busca de si. Em nossa contemporaneidade, a noção de unidade não permanece em sua essência primária, o que nos permite pensar na idéia de fragmentação. Tencionamos apresentar uma leitura da poética de Herberto Helder atentando para as figurações da imagem do corpo e mostrar a relação entre criação literária, origem da voz poética e corporificação/fragmentação do discurso. Dedicaremos ainda parte de nossos escritos a elaborar uma reflexão sobre a leitura de poesia e sobre a situação da linguagem poética a partir de críticos pós-estruturalistas, mas sempre pensando o texto literário de Herberto Helder. Concentrar-nos-emos em alguns poemas da edição brasileira de Ou o poema contínuo. Fundamentamo-nos em concepções teórico-filosóficas de Maurice Blanchot, nas obras L’espace littéraire, La part du feu, L’entretien infini et Le livre à venir, por exemplo, e ainda levamos em conta leituras de Roland Barthes, Gilles Deleuze, Giorgio Agamben, Antoine Compagnon, Jacques Rancière e Leyla Perrone-Moisés.
Pimentel, Davi Andrade. "A Literatura de Hilda Hilst na perspectiva de Maurice Blanchot". http://www.teses.ufc.br, 2009. http://www.repositorio.ufc.br/handle/riufc/2921.
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Esta dissertação analisa os processos da escrita literária de oito obras em prosa da escritora Hilda Hilst – A obscena senhora D; Kadosh; Rútilos; Fluxo-Floema; Tu não te moves de ti; O caderno rosa de Lori Lamby; Com os meus olhos de cão e Estar Sendo. Ter Sido – a partir do pensamento do filósofo-teórico Maurice Blanchot sobre literatura, como, por exemplo: a fragmentação do discurso, a instabilidade da narrativa, a errância dos personagens, a não-verdade e o não-poder, decorrentes da impossibilidade da morte no texto literário. A ideia de literatura presente nesta dissertação refere-se à ideia de literatura como autossuficiente, uma literatura que se basta, que não precisa da relação mundo real – literatura – mundo real para existir. Desse modo, não fazemos nenhuma relação das obras hilstianas com a contemporaneidade em que foram publicadas, nem com a contemporaneidade atual desta dissertação. Ao abdicarmos do mundo prático em favor do mundo literário, pretendemos observar a arquitetura de escombros da linguagem hilstiana sem as implicações de fatores extraliterários, o que nos proporciona uma investigação mais depurada do texto literário.
Bident, Christophe. "L'imaginaire de la mort : Bataille, Blanchot, Duras". Paris 7, 1992. http://www.theses.fr/1992PA070129.
Texto completoBataille, blanchot and duras : they are obsessed by death, not only a sick, political death, but also a sacred death, that the christian, bourgeois - and colonial - civilization endeavors to forget, in the heart of sacrifice, erotism or agony. To legitimate such an obsession. By its recognition through a theoretical universal or its translation into narrative formulas, has been their first ambition. Death, being always beyond the reach of experience, allows to legitimate only the invention of narrative praxes leading to the heteros : that is the archaic semiotic networks at work through the aesthetics of the novel. In such a process death appears originally as the foundation, the formation and the repetition element of the imagery ; the conversion of anxiety into pleasure collapses ; the pre-objectality of a terrifying relationship to the mother stands out; the specular stabilization of the abject falls into pieces ; a non-cathartic anxiety, that onlythe recognition of the praxis of the sacred can "turn into delight", passes on to the reader : a policy of a reading open on to the community. This protean power of fragmentation of the writing appears to bataille, blanchot and duras as an ethic necessity. Their meetings, their reciprocal esteem and their friendship rest upon their ethic view of the aesthetic "disaster"
Smanioto, Macedo Sheyla Cristina 1990. "Cruel razão poética : um estudo sobre a escrita do neutro em Maurice Blanchot". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270068.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente dissertação propõe-se a um estudo sobre a escrita do neutro em Maurice Blanchot. Começamos com a proposição do que seria uma possível poética do neutro, na introdução. No capítulo um, abordamos o neutro em sua relação com o dehors, a partir da História da loucura (1961) de Foucault e da leitura desta obra feita por Pélbart (1989). A preocupação é contextualizar o neutro para, no capítulo seguinte, trazê-lo em relação com as exigências da "cruel razão poética", abordada por Blanchot (1969) a partir da leitura de Artaud, aproximando as poéticas desses dois autores. Em seguida, no capítulo três, com o apoio de Dubreuil (2003), partiremos da análise de dois textos ¿ Thomas L'Obscur de Blanchot e "Carta à vidente" de Artaud ¿ a propósito da ideia de possessão, tal como esta encontra espaço em suas concepções sobre a criação poética. O objetivo é, depois de aproximar Artaud e Blanchot, situar onde a escrita deles é diferente, muito embora partam de questões semelhantes. Isto feito, tornamo-nos capazes de afirmar, com o auxílio do mito das sereias, a escrita do neutro como a articulação de uma "metalinguagem dramática" que permite a Blanchot, ao aproveitar-se das estruturas do pensamento mítico, realizar seu pensamento em um terreno provisório
Abstract: This dissertation proposes a study on the writing of the neutral in Maurice Blanchot. We start with the proposition of a possible poetic of the neutral. In chapter one, we approach the neutral by its relationship with the dehors from Madness and Civilization (Foucault, 1961) and the reading of this work done by Pelbart (1989). The concern is to contextualize the neutral and bring it in relation to the demands of the "cruel poetic reason", addressed by Blanchot (1969) from reading Artaud. Then, in chapter three, with the support of Dubreuil (2003), we will base the analysis of two texts - Thomas L'Obscur (Blanchot, 1950) and "Letter to the clairvoyant" (Artaud, 1929) - in connection with the idea of possession, as this finds room in their conceptions of poetic creation. The objective is, after approaching Artaud and Blanchot, place them where their writing is different, even though departing from similar issues. This done, we become able to claim, with the aid of the myth of mermaids, the writing of the neutral as the articulation of a "dramatic meta-language" that allows Blanchot to perform his own thinking on a temporary ground by availing the mythical thought structures
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
Bonfanti, Elvira. "Du neutre à l'Autre. Essai sur la pensée esthétique de Maurice Blanchot et Emanuel Lévinas". Nice, 1998. http://www.theses.fr/1998NICE2002.
Texto completoThis essay consists of an introduction, five chapters and a conclusion. The interpretative proposition developed in the thesis is outlined in the introduction: the fact that the dimension of remous and perte which Blanchot calls neutre and which forms one of the bases of his thought can, in many aspects, be compared to the il y a of Levinas and the blochian concept of obscurité de l'instant vecu (das dunkel des gelebten augenblicks). Chapter I, through various topoi of Blanchot's thought (le vertige du vide, le regard d'Orphée, la démesure, etc. ), outlines a profile of Blanchot's hermeneutics which has both implicit and explicit references in Hegel, Nietzsche, Heidegger, Levinas and Bloch. Chapters II and III involve a transversal interpretation of the works of Bloch and Blanchot contrasting some common themes, such as, for example: the discovery of the obscure and imaginary, in order to outline the sometimes extremely diverse conclusions. In chapters IV and V Blanchot's neutre is compared to the il y a before each representation which constitutes one of the main themes around which the philosophy of Levinas rotates. Thus, the work of art, the holy ecstasy, the impossibility of saying "i die" at the moment of death and the eros as excess become the topos in which the immanence of the presence threatens our world undermining the subject's position as a foundation of truth. Finally, in the conclusion, the restless " say" of Blanchot and Levinas that seems condemned not to be able to say anything about what it loves most, is defined as wandering knowledge, doomed to eternal self-contradiction
Dubreuil, Laurent. "Lectures de la possession : Maupassant, Artaud, Blanchot". Bordeaux 3, 2001. http://www.theses.fr/2001BOR30056.
Texto completoRésumé :The author explores the notion of possession in French literature from the end of the nineteenth century until the aftermath of the second World War, in the works of Guy de Maupassant, Antonin Artaud and Maurice Blanchot. A companion to philosophical upheavals, heir to religious discourses, and itself at odds with the conclusions of clinical diagnosis, "hantise" takes up a new role in the poetic making of writing and reading. Reading possession in the chosen body of texts involves checking one's own process of critical reading-provided empathy with any work induces one to try to map out its conception, even if and especially when the paths of rationality are abandoned
Călin, Anca. "La question de la nomination dans l’œuvre de Maurice Blanchot". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100113/document.
Texto completoWhat is reading? What is writing? Or more generally, what is literature and how is it ‘manufactured’? These are Maurice Blanchot’s obsessive questions to which he tries to answer. This continuous questioning pushes him to build up a literary space in order to make queries with regard to the issue of nomination, a key concept of his works.Our thesis aims at building the genealogy of this topic of the nomination process in Maurice Blanchot’s works and at thinking about the literary space which it brings to light. We will focus specially on the relationship reader-writer through the difference between ordinary language and literary language.We do not see writing and reading as two mechanical activities of writing down words and decoding them, but as two intellectual processes which make possible what we will call in our thesis the impossible nomination from Blanchot’s works. Indeed, reading and writing as literary acts are not meant to understand, express and affect the world, which is the declared purpose of the ordinary language; their mission is rather to reflect on the prose of the world, a kind of hidden goal of the literary language. Blanchot sets up a whole system of concepts based on the opposition between ordinary language (the language as a tool) and literary language (the body of the language and its manufacturing as an act of creation). It is precisely based on this landmark that we structure our general project: how does the raw material of the language lead to the creation of literature, which in the end comes to questioning the reading and the writing in literature?
Raddaoui, Saber. "Le précis et l’indécis dans les textes de Samuel Beckett, Maurice Blanchot et Robert Pinget". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080073.
Texto completoAccurate and indecisive, this is the object of a questioning on the lability of the work and inscribes the scriptural quest in places of ambiguity. It is essentially around this problematic duality that the work of writing unfolds in the prose texts of Samuel Beckett, Maurice Blanchot and Robert Pinget. For the novelists of the fifties, the requirement to describe what they see, hear and feel seems a priority. Each one has his way of approaching the writing and to inscribe the secrets of its hatching. If we can therefore speak about the works of our three authors off the beaten path, nothing prevents us from problematizing the notions of precise and undecided in the light of a diversified approach by drawing inspiration from narratology, semiotics, poetics , without forgetting the contribution of philosophical reading through the theoretical texts of Descartes, Hegel, Gilles Deleuze, Derrida, Martin Heidegger, Michel Foucault, Maurice Blanchot, Emmanuel Levinas and all those who wanted to express the complexity inherent in the work of writing. It is a question of studying the specificities of a writing in gestation that takes shape and consistency in its paradoxes. Our aim is thus to identify the relationship that is formed between the three writers in writing, which leads us to reflect on the two precise / undecided notions in the texts of our corpus. It is a matter of questioning what delimits the two notions and makes it possible to think about the question of the truth
Bibang, Bi-Nguema Claver. "Approche comparée de la nuit (et du jour) dans le texte de Maurice Blanchot et Leopold Sedar Senghor". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040020.
Texto completo"Comparison is not reason." Pamphlet made famous by Rene Etiemble in 1963, which today, has aplace in all attempts of poetry comparison. This thesis tries to go beyond the theoretical limitation without losing sight of the relevance and pertinence that it is supposed by.Maurice Blanchot and Léopold Sédar Senghor. Two authors that differ in every respect. The first, influenced by European culture in order to produce a piece of work marked by heuristic difference, infinite boredom, and an endless discretion of a topic that will eventually disappear. The Second, an African academic that wrote collections of poems and essays on Socialism and the Negro-African Aesthetics. Nothing boded any meeting between these two writers. They have in common the poetics of the Night, a thematic expression that structures this work. Blanchot and Senghor are far from the traditional modes of reason. One wrote fragments of fiction and narratives marked by sayings and iconoclastic critical texts. The other had cast suspicion on radical discursive reason and geometric thinking. Night is the place of these hermeneutic reversals . From an open approach, the thesis is re-evaluating the standard tools of readable literary texts, trying to answer three cardinal questions: Why and how do Blanchot and Senghor use night in their work ? What are the discontinuities that lie in this strange and dark region? Moreover, How to overcome the absence of effective exchanges, in order to approach the missing debates within in the works of these two authors? These are the main aspects that govern this research. To take the risk, a poetry section is called : the litery psychoanalysis, to capture the initial frustrations that are transformed in the day and melt the text in the night. The Mythocritique and its triangular form of analysis is used in order to observe the relationship between the mythical hero, the fictional (or poetic character) and the writer. Finally, Deconstruction is used, to monitor the theoretic receptacle which serves as the point of condensation of these asymmetries. Night appears as an operation to dismantle the institutions of knowledge, whilst stretching the literary language until the radical abolition of differences: inaccessibility of Otherness in Blanchot, intuitive rhythm heterogeneity, the other of reason in Senghor
Yang, I.-Ning. "La question de l(’im)possible nomination chez Maurice Merleau-Ponty et Maurice Blanchot : croisements autour de Lao Tseu". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100171/document.
Texto completoThe purpose for this research focuses on issues involving the complex relations between the nature and languages as well as the common grounds for the concepts of “naming” among three scholars: Merleau-Ponty,Maurice Blanchot and laozi. The research will delve into the relation between the nature and language and have discussions on the relevance for the issue among three scholars rather than put emphasis on the comparative research of the issue among them. Technically, we will have more discussions with regards to how the three scholars manage to discard traditional meanings and thoughts over the issue while making their own interpretations based on varied contexts and reflecting on philosophical theories opposite the theories they proposed according to their individual cultural backgrounds: the unknown semantics of the sentence for Merleau-Ponty( evey word read is given its own semantics), Blanchot feel unfamiliar to the basic concept for allwords and sentences across the world is the very truth. While the previous theories mentioned are foreign to Laozi
Murvai, Peter. "Allégories de la souveraineté : politique et littérature, à partir de Maurice Blanchot". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00691689.
Texto completoHunault, Claudine. "Le réel sans lieu : Blanchot avec Lacan et Régy, Castellucci, Delbono". Paris 7, 2010. http://www.theses.fr/2010PA070111.
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